Minnesingers.—While the trouvères and troubadours were singing in Provence and in France, an analogous association was forming in Germany, to which the name Minnesingers (Minne, old German, “love”) was given. A list of names belonging to the 13th century includes 162 men, among whom are several occupying thrones. Names that have interest for us are Klingsor, Wolfram von Eschenbach (author of a poem on “Parcival”), Gottfried of Strassburg (author of a poem “Tristan and Isolde”), Walter von der Vogelweide, the Chevalier Tannhaeuser and Heinrich Meissen, called Frauenlob. Richard Wagner has introduced some of these men in his operas. The versification of the Minnesingers has been much admired by critics; it was filled with art as well as beauty. Their love themes differed from those of the Provençal singers in that while the poetry of the latter declared love as a gallant sentiment, the Germans gave it a loftier tone by mingling it with the Madonna sentiment.
Folk-Song.—While the German nobles were employing themselves in the service of art, the people were not idle. They had their tunes and their verses. The Locheimer Liederbuch (1452), contains a number of songs, some of which are undoubtedly very old; they are melodious, varied in rhythm and full of naïve simplicity. Some of them are arranged in the popular three-voice style, and show correct part leading, the inclination being toward our major and minor modes instead of the Church Modes.
Hans Sachs.
Mastersingers.—The most noted musical organization among the people was that of the Mastersingers (celebrated in Richard Wagner’s opera); Nuremberg, Mayence, Strassburg and Frankfort were their centres. The members were organized into a Guild, just as was the case in trade affairs; they had a charter from the Emperor Charles IV. Their poetry and music were not elevated, for the members of the Guild were not of a standing and an education to give them real skill in the fine arts. The records of the Mastersingers show that the members were principally tradesmen, such as farriers, armorers, locksmiths, tailors, cobblers; yet there were some members who could lay claims to culture and higher standing, as engravers, physicians and a few gentlemen of leisure. The most conspicuous of them all was Hans Sachs, the cobbler-poet of Nuremberg. Their works were marked by monotonous melody, (for the pitch is but little varied) and a heavy, clumsy rhythm. To make up for the lack of real artistic idea they were pedantic to an extreme; composition was hedged about by a multitude of rules, to which composers must give exact obedience. These rules were given in a code called Tablatura. They held contests in which the members vied in producing works exemplifying the principles of the organization.
Questions and Suggestions.
What country in Europe was inhabited by the Gauls?
Where did the Celts live?
What countries did the Scandinavians inhabit?
Give an account of their music.